Zaum: Beyond mind (1)

Discussion:

The following is a summary of the points raised during our inter-disciplinary discussion which followed the performance and provided some essential external feedback to my work and approach:

First of all it was necessary to emphasise that my collaboration with another composer producing live electronics during the piece would be part of the eventual work, as a 1st practical project. My theory is concerned with the embodiment of music – whether performer body or instrument(s), real or virtual - in space. Parallel to this runs the theme of finding new relations to other elements in performance, whether visual, text, sound, choreography, and finally the issue of finding notation / score forms for these different languages.

There are the following aspects to consider:
• reading notation (who reads it?).
• new vocabularies and terminologies.
• the accessibility of a music score, its role in new music theatre.
• the place of the score on or offstage, its integration into a performance as an object, its symbolic authorship. What other forms could it take? That of moving symbols, signs, graphics on a computer screen?
• The ‘fluidity’ of a score. Problem of finding a common language between the different art forms of performance v. the risk of a loss of diversity. Is it more a question of understanding other disciplines/languages?

• The application of musical thought to a theatre context (equally possible would be scenographic thought, choreographic thought, lighting design thought, for example). Understanding the process of someone else’s creative thinking. Lighting can be seen as a counterpoint to the other elements, through the application and translation of musical thought. (into rhythm, accent, density), or textual thought (punctuation, phrases, multiple lines). I cite the different meanings of a term, for example ‘dynamic,’ when used in music or choreography.

• There is the central importance of the body in non-verbal communication that happens between dancers, actors, & musicians. An open-ended dimension of process is invaluable in being able to defy being named (reference to Derrida), and has to remain so until a later stage when a possible form, structure and direction surfaces of its own accord.

• We discuss the dilemma of authorship, intention, information, confrontation, on the part of the source material. Should the author/performer divulge more about the work to be seen / heard? Is there a need for points of reference on the part of the audience?

“The question is not, is it true? But, does it work? ….What…does it open in the body?” (B. Massumi.)

• Gestures of playing are used without the instrument – my reasons for this, which link to the character and the zaum text. Working with 3 basic emotions in relation to text.
• The issue of a musical instrument as an animate, spirit-being (according to many non-western cultures), the physical proximity and respect towards the instrument regarding its space.